Sean Baker’s Palme d’Or winning Anora is a crowd-pleasing triumph which continues his impassioned exploration of people living on the margins of American society, drawn from elements of classic cinema but with a Tik-Tok spin. Central to the success of the film is Anora herself, Mikey Madison, who’s fiery star making turn keeps the whole film within her orbit. Appearing in every single scene, Madison is just pure energy, at times chaotic and others poetic, complementing Baker’s documentary style, allowing him to hang back and be a fly on the wall, while all eyes (both on and off camera) are on her.
Ani (Madison) is a twenty-something sex worker in New York City, plying her trade with the clientele, trying to make ends meet any way that she can. One day, she must tend to a client who wants a Russian speaking girl to come to the table. It is here she meets Ivan (Mark Eidelshtein) who turns out to be the son of a Russian oligarch. Soon enough, Ani has become exclusive to Ivan, who pays her to spend the week with him as his “horny girlfriend.” The two hit it off and before too long, Ani and Ivan get married during a trip to Las Vegas. This draws the attention and ire of Ivan’s parents and his minders who take umbrage to the fact the young man has married a “hooker” and demand the couple get an annulment. But the oligarchs and their henchmen get more than they bargained for with the feisty Ani, who will not take matters lying down.
The magic of a Sean Baker movie is his approach to his subject matter. He creates such vivid worlds populated by characters that feel so real they could jump out of the screen. By employing a documentary style, Baker ensures the lives of these characters are presented as they are, warts and all, but without judgement or editorialising, leaving the audience to be the final arbiter of their choices and behaviour. But Baker also imbues his films with perfectly timed comedic moments that feel organic and unscripted, endearing the audience to these characters to such an extent that passing any judgement at all becomes increasingly more difficult. We begin to see ourselves in these people, which makes their journey all the more special.
This is never more so than in Anora which displays Baker’s growth as a filmmaker while also galvanising elements of his previous films and influences. He brings back the world of sex workers from Tangerine, the post-capitalist societies of The Florida Project and presents, in the figure of Ani, somewhat of a mirror image to Simon Rex’s suitcase pimp of Red Rocket. Combine this with a splash of Fellini’s Nights of Cabiria and the romances of Douglas Sirk, and Baker creates a beautifully rendered story of female agency in a world that still, even in 2024, seems designed to supress or even eliminate it entirely.
Mikey Madison is a revelation as Ani. She dominates the film with the charismatic charm of a seasoned movie star. She has such a strong emotional core and clear-eyed motivation that she pulls you through every scene. So much so, that when the story becomes more chaotic, we are grounded by her steadfast belief in her own strengths and resolve. Even if we might not agree with her choice of a particular hill to die on, her simple refusal to back down is nothing less than impressive. It is in these moments that Madison really soars, amplifying an already physical performance into one of fearless intensity, putting her body on the line to portray Ani’s ferocious temperament in the face of adversity.
Anora is another triumph for Sean Baker and a moment of arrival for Mikey Madison. It is no surprise the film won the Palme d’Or as it presents its story in such a heartfelt, funny and crowd-pleasing manner that is hard not get hooked on what they have accomplished. Baker’s filmmaking just keeps going from strength to strength as he formulates a new style of American cinema that is both intense and satisfying in its approach to storytelling. And his eye for discovering new talent in front of the camera feels unmatched in modern cinema at the moment. Placing Madison front and centre and surrounded by a very game collection of professional and non-professional actors alike, Baker has created yet another emotionally resonate portrait of modern life that prefers not to wallow in misery in favour of celebrating small victories, expected or unexpected, where they are found.
Director: Sean Baker
Cast: Mikey Madison, Paul Weissman, Lindsey Normington
Writer: Sean Baker
Producers: Sean Baker, Alex Coco, Samantha Quan
Cinematography: Drew Daniels
Editing: Sean Baker
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